The two performances were the culmination of the 2017-2018 session of the NYU Tisch Graduate Musical Theatre Writing Program’s Opera Lab. Collectively they featured eleven short operas written and composed by NYU graduate students and performed by AOP’s professional opera singers Keith Browning, Alexa Jarvis, Kathryn Krasovec, Yoojin Lee, Nicole Mitchell, Jordan Rutter, Nathaniel Sullivan, and Amelia Watkins, who additionally acted as mentors through the duration of the program. The operas themselves were inspired by The Dinner Party, an installation of feminist artwork by Judy Chicago currently housed at Brooklyn Museum.

The Dinner Party, an important icon of 1970s feminist art and a milestone in twentieth-century art, is presented as the centerpiece around which the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art is organized. The Dinner Party comprises a massive ceremonial banquet, arranged on a triangular table with a total of thirty-nine place settings, each commemorating an important woman from history. The settings consist of embroidered runners, gold chalices and utensils, and china-painted porcelain plates with raised central motifs that are based on vulvar and butterfly forms and rendered in styles appropriate to the individual women being honored. The names of another 999 women are inscribed in gold on the white tile floor below the triangular table. This permanent installation is enhanced by rotating Herstory Gallery exhibitions relating to the 1,038 women honored at the table.

Some students chose to interpret the mythos of these women literally, while others reimagined their lives or simply drew inspiration. The historic pieces included “Master” in which Emily Dickinson reckons with the life of her poetry in the aftermath of her death. It featured music by Jacinth Greywoode and libretto by Deepali Gupta. In “A Drop in the Ocean” (music by Bryan Blaskie and libretto by Christine Claudel Filimonova), Christine de Pizan, the first women to earn a living wage as a writer, interviewed for her first job after the death of her husband. Spencer Robelen and Seth Christenfeld’s “An Unbroken Line” took place in Egypt, 1458 BC when the pharaoh Hatshepsut, in the twilight of her reign, is beset by palace intrigue orchestrated by her sister and carried out by her heir. “Waiting for the Rain” built from the legacy of Hildegard von Bingen, a medieval nun, composer, scientist, and prophetess, with music by Kevin Cummines and a libretto by Clara Luthas. “Judith and Holofernes” (music by Mehmet Salih Yildirim and libretto by Lily Dwoskin) depicted the Biblical heroine, Judith, and her slaughter of the infamous General Holofernes.

Other operas took a more varied approach, some reinventing the mythos of the women and some using them in a contemporary context. “Petronilla” (Music by Kent Jeong-Eun Kim and libretto by Zach Childers) imagined a scene between Lady Alice and her maid Petronilla de Meath, the first Irish woman to be burned at the stake for witchcraft during the Middle Ages, as a playful comedy; “Ár n-Athair” (music by Benedict Braxton-Smith and libretto by Nick Stephens) also took on the subject of a woman accused of witchcraft, this time revolving around the alliance between Goodwife “Goody” Ann Glover and a pirate when they are both imprisoned by the powerful Cotton Mather; “President Joan (Or the Unexpected Virtue of Sandwiches)” retold the myth of Pope Joan, but set it in the farce that is modern U.S. politics. Music by Boram Han and libretto by Cal Silberstein; The Byzantine Empress “Theodora” helped a young modern professional stuck in a dead-end job surrounded by misogynistic co-workers in the opera with music by Minhui Lee and libretto by Benji Goldsmith; “Women’s Work” (Music by Benji Goldsmith and libretto by Seth Christenfeld) also featured a modern setting for its story of an artist forced to reckon with her white privilege after a black friend confronts her over her work – a scultural bust of Sojourner Truth. And “Avery and Ainsley” took The Dinner Party as a whole for inspiration, exploring not one of the women represented, but the piece itself and its perceived role in the surreal opera by Jonathan Fadner and Scott R. Ritter.

The operas were split between two performances. The full house at the Wednesday, May 23 performance at NYU Tisch’s Black Box Theatre saw six operas with music direction by Mila Henry, directed by students from The New School, and designed by students from the NYU Tisch Department of Design. On Sunday, May 27 at the Brooklyn Museum the remaining five operas were presented under the stage direction of Luke Leonard and music direction of James Lowe to an equally large audience who were able to then visit the installation after the performance.

The Opera Lab was led by Professors Randall Eng of Tisch’s Graduate Musical Theater Writing Program and Sam Helfrich of the Tisch Department of Design, in partnership with American Opera Projects.

More about NYU Tisch:

For over 50 years, the NYU Tisch School of the Arts has drawn on the vast artistic and cultural resources of New York City and New York University to create an extraordinary training ground for the individual artist and scholar of the arts. Today, students learn their craft in a spirited, risk-taking environment that combines the professional training of a conservatory with the liberal arts education of a premier global university with campuses in New York, Abu Dhabi, Shanghai, and 11 academic centers around the world. Learn more at www.tisch.nyu.edu.

More about Brooklyn Museum:

The Brooklyn Museum presents important art in eye-opening ways, and has long been at the forefront of engagement with underserved and younger audiences, from its widely popular Target First Saturdays program and creative reinstallations of its permanent collection, to its pioneering online presence and inventive use of technology in reimagining the visitor experience. A driving force behind the massive growth and energy of the Borough of Brooklyn and of its diverse cultural community, the Brooklyn Museum annually welcomes more than half a million visitors who represent one of New York’s most diverse museum-going audiences.

With roots dating back to 1823, the Brooklyn Museum is one of the oldest and largest museums in the United States, with a collection representing nearly every culture, ranging from some of the most important ancient Egyptian works in the nation; to the arts of the Pacific Islands, Asia, Africa, and the Islamic world; to American and European art; to international contemporary work. The Brooklyn Museum is home to the Elizabeth A. Sackler Center for Feminist Art, the only facility of its kind in the country. For more information, visit www.brooklynmuseum.org

“Park and Bark” to premiere in Fort Greene Park and NYU on May 7 and 8

A 2013 AOP concert in Fort Greene Park

NEW YORK – On May 7 and 8, New York University’s Tisch School of the Arts, American Opera Projects (AOP), and the Fort Greene Park Conservancy (FGPC) will present “Park and Bark,” twelve mini-operas written by students in Tisch’s Graduate Musical Theatre Writing Program (GMTWP) on the subject of Fort Greene Park, one of New York’s, and the nation’s, most historic and vibrant neighborhood parks. The operas, each under fifteen minutes, include dramatizations of the park’s large dog walking community, the remains of the Prison Ship Martyrs from the American Revolution, and a park gardener in a post-apocalyptic future. Six of the operas, staged by opera director, associate Arts Professor and Head of Dramaturgy in the Graduate Department of Design for Stage and Film Sam Helfrich (Glimmerglass, Virginia Opera, Boston Lyric), will be performed at NYU Tisch’s Black Box Theater (715 Broadway, 2nd Floor, NY 10003) on Saturday, May 7th at 2:00pm. The other six operas will be performed in an outdoor concert near the Visitors Center at Fort Greene Park on Sunday, May 8th at 4:00pm. All performances are free and open to the public. Seating for May 7 is limited and can be reserved at https://parkandbarkmay7.eventbrite.com. More information can be found at www.aopopera.org.

Students in the Graduate Musical Theatre Writing Program (GMTWP) began learning the ins and outs of opera writing this spring when Brooklyn’s American Opera Projects (AOP) partnered with Tisch School of the Arts for a new “Opera Writing Workshop.” Led by composer and faculty member Randall Eng, the workshop is an advanced class for composers and librettists of GMTWP at Tisch, as well as recent alumni, to collaborate with professional opera singers and music directors under the mentorship of AOP, an opera company in Fort Greene that has developed and premiered contemporary operas for over 25 years.

“This process has been particularly helpful for anyone who has gone through school already and needs critical eyes on their work,” wrote Casey O’Neil, one of the workshop’s composers. “Randall and the guest instructors delivered terrific and specific feedback, which has helped make the works much stronger.”

Support for the workshop was provided by the Institute of Performing Arts, NYU Tisch School of the Arts, and a multi-year award to AOP from The Andrew W. Mellon Foundation, with the free performances made possible by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.